... Robert Sobociński puts millennia to a halt. He comes from afar and from above. In his art of black magic and strong possession, he starts off with fundamental themes and then throws in a key of multiple codes. The shapes, crawling and winding or upright and slender, mix and merge with one another. They forget the delineated route and transport the viewer towards the disturbing and puzzling roads of uncertainty. ...

You like to capture the moment when the amorphous state becomes symbolic. There is nothing better than the alloy of bronze in which you create. It suits well your rejection of stability.
"People did not invent bronze. It is bronze that found them", you say. It is true that the power of this privileged material occupies an important position in your world. It is an equal partner that you listen to, accompany, but also direct. "Aiming at close-knit mass is the nature of bronze. The mind, interfering with this process, creates form - a sculpture. An absolute control of metal would mean a search for the effect such as the statue of Apollo, polite and decorative. A partial control, in turn, allows for a preservation of dialogue"...

Robert Sobociński - in my judgement - is the only artist who is capable of creating today Rodins in tatters, ragamuffins in bronze, one of the most dense and massive matters that there are. He can fray it, tear, gnash, or rip to shreds, precisely and meticulously and at the same time violently and brutally. His gods, heroes and demons are all built of scars or slashes. Thanks to him one can see at first glance that the space of the solid is permeated with an acid that corrodes and torments until the unstable and shaky core. This is a sculpture damaged by a space contaminated with acid rains and our bitter tears. In the era of emptiness, in order for our idols to become clearly seen, they must be grooved. And Robert, one of its kind, is a sculptor who primarily works with the void....

"Each subsequent work of Sobociński focused increasingly clearly on the issue of form, shaped in the process of seeking those features of the form that are primal, organically marked, that refer to prehistoric notions. (...) Sobociński's form becomes increasingly archaic, he starts looking for inspiration in the cultures of Scythes and primal people. He is attracted by the peculiar atavism of the form. He intensifies the effects of purely tangible qualities of a sculpture, he carves the surface, he seeks the balance between what may be incidental and what results from reflection, long hours of sketching and arduous construction".

(fragments of the text published in the catalogue of the exhibition at MR Gallery, Poznań,1990)

/Françoise Monin/

"Inspiration, nobleness: these could be the first definitions of the works of Robert Sobociński, who makes the created forms swirl, imagines them until he forgets about the density of bronze that he makes them with. This amazing world refers to cocoons that butterflies leave behind, to mutation, to placenta. (...) Robert Sobociński's bronze, melting like wax, preserves the reflection of the body that freed itself from its earthly heaviness to join the ball of ghosts. The enlivening and melancholic shape is above all a solid recollection of a body, a memory of the performed work, an allegory of the necessary effort, a prelude to each created form. Robert Sobociński materialises successful escapes".